Tuesday, June 29, 2021
Monday, June 28, 2021
Monday, June 14, 2021
380. CREATING HARMONY OF A SONG BY CONNECTED ARCS IN THE HARMONIC WHEEL BY 4THS , SELECTING MINOR-MAJOR CHORD AND EXTENDED THE ARC SIMILARLY WITH THE MELODIC AND THE CHROMATIC WHELL.
Here the basic principlses are
1) We add as few new roots for chords as possible (besides the 7 roots ofthe 7 notes of the diatonic scale)
2) Thus restricting to changing the types of the chord to an other type among the Major, minor, diminished, augmented
Examples of full chromatic tonality:
By utilizing two cycles of 7 chords as connected arcs in the wheel by 4ths. The first cycles is all the diatonic 7d-3m-6m-2m-5M-1M-4M
The seconds 7-cycle turns some minors to majors and the 5m to 5m
It is the cycle 7M-3M-6M-2M-5m-1M-4M
The melodies o play should be based on the middle 3rd notes of the chords.
An alternative pair of 8-cycles of chords is the next
4#m-7m-3M-6m-2m-5M-1M-4M
The seconds 8-cycle turns some minors to majors.
4#M-7M-3M-6M-2m-5M-1M-4M
The 4 types of chromatic tonality as in the post 379 are examples of the current post method too.
RANDOMIZING THE SEQUENCE OF THE HARMONIC CYCLE BY INTERPOLATING MELODIC AND SUPERCHROMATIC CHORD TRANSITIONS BY MAJOR CHORDS.
When we are as above ina harmonic 6 cycle or 7 cycle or 8 cycle , instead of runningthe cycle with its harmonic sequence order, we may randomize the sequencing by utlizing
a) Super-chromatic transitions, in other words transition that the roots of the chord diffe by a semitone onle (thus only 2 such transitions possible)
b) Melodic trasnitions, in other words transitions that the roots of the chords differ by a mior or major 3rd. In such melodic trasnitions the musical effect is more exciting when both chords are of major type.
An example of such a nice harmony is the song "song for two Pamelas" by David Grisman and Tony Rice.
https://www.youtube.com/watch?v=w9YdcbzcL6Y&ab_channel=TonyRice-Topic
Here the 7 cycle is 7M7-> 3M7-> 6m (6M7)-> 2m (2M7)-> 5M7-> 1M-> 4M
and th red pairs are melodic trasnitions while the blue pair superchromatic transitions
In other words we avoid the simple chromatic and not super chromatic, transitions.
6m 4M 3M7
6m 6M7 2m
5M7 1M 4M
4M7 3M7 6m
6M7 1M7 4M
4M7 2M7 5M7
5M7 3M7 6m
4M7 3M7 2m
4M7 6M
6m 2m 7M7
7M7 3M7 6m
6M7 2m
5M7 1M
379. THE POWER OF MELODIC TRANSITIONS IN CHROMATIC TONALITY: TYPES OF STANDARD CHROMATIC TONALITY INVOLVING HARMONIC MINORS EQUIVALENT TO TRANSPOSITIONS AND MELODIC OR DOUBLE MELODIC TRANSITIONS
We discuss here the 4-cycle 5M-1M-4M-7bM and the coresponding transitions to harmonic minors triads (which are transition to a major chord a major third higher thus double melodic upper transition (first to the upper relative minor and then to the relative major with the same root) or a minor third lower double melodic lower transition). With these double melodic transition we may smoothly introduce the minorization of the major chords of the triad as well as the majorizations of the minor chords of he scale instead of direct double relative change onthe same root!
The correspondence of the simpler of such two cycles
5M-1M-4M and
3M7-6m-2m
is such that the roots differ by an interval of 3rd thus melodic transition from majors to minors and vice versa.
Once the harmonic minor is added to its original troads of majors , we have also chords for an andalucian cadenza)
1) for the 5M-> to the triad 7M7-3m-6m (harmonic 3 minor, andaluzian cadenza 3m-2M-1M-7M)
2) for the 1M-> to the triad 3M7-6m-2m (harmonic 6 minor, andaluzian cadenza 6m-5M-4M-3M)
3) for the 4M-> to the triad 6M7-2m-5m (harmonic 2 minor, andaluzian cadenza 2m-1M-7bM 6M)
4) for the 7bM-> to the triad 2M7-5m-1m (this involves the blue notes of the 7-notes blues scale and it is also an hamonic 5 minor , andaluzian cadenza 5m-4M-3bM-2M)
On the other hand if we make the double melodic lower transition then we have
1) for the 5M-> to the triad 3M7-6m-2m (harmonic 6 minor, andaluzian cadenza 6m-5M-4M-3M)
2) for the 1M-> to the triad 6M7-2m-5m (harmonic 2 minor, andaluzian cadenza 2m-1M-7bM-6M)
3) for the 4M-> to the triad 2M7-5m-1m (harmonic 5 minor, andaluzian cadenza 5m-4M-3bM 2M)
4) for the 7bM-> to the triad 5M7-1m-4m ( hamonic 1 minor , andaluzian cadenza 1m-7bM-6bM-5M)
If the arc of majors is longer like 7M-3M-6M-2M-(5M-1M-4M-7bM)
Then we add also the upper relative major transitions (upper double melodic)
1) for the 2M-> to the triad 4#M7-7m-3m (harmonic 7 minor, andaluzian cadenza 7m-6M-5M-4#M)
2) for the 6M-> to the triad 1#M7-4#m-7m (harmonic 4# minor, andaluzian cadenza 4#m-3M-2M-1#M)
3) for the 3M-> to the triad 5#M7-1#m-4#m (harmonic 1# minor, andaluzian cadenza 1#m-7M-6M 5#M)
4) for the 7M-> to the triad 2#M7-5#m-1#m ( hamonic 5# minor , andaluzian cadenza 5#m-4#M-3M-2#M)
Of course all the above structure of triads of majors transitioning to triads of major-min-min (harmonic minors) ,is tralslated also in to a structure of pentachords (internal to a chord) and tetrachords (bridge transitioning bewteen chords) which is a structured platformed forthe creation and composition od improvisational melodies. And for major chords the inner pentachords of the chord are called major pentachords while for minor chords minor pentachords. Similarly for augmented and diminished chords , they are called augmanted an diminshed pentachords.
The preVious melodic transitiosn are ofte 2nd order (because e.g. the 1M->3M is in 2 steps 1M->3m and 3m->3M) . Neverthleless there are also 1st order melodic transitions and here we give 3 examples of minorιzation of the majors
MINORIZATIONS
1) (5M-1M-4M)-> (4m-1M7)
2) (4M-5M-1M)-> (1m-5M7)
1) (1M-4M-5M)-> (5m-2M7)
Sunday, June 13, 2021
378. EXAMPLES OF CHROMATIC TONALITY FROM NEW OLRLEANS JAZZ
We may take as an example the Tuba Skinny album in Italy of New Orleans Jazz
https://www.youtube.com/watch?v=8QeGi4HGkCk&t=1047s
377 4 WAYS TO CREATE FULL CHROMATIC TONALITY
As we have mentioned in the articles about chromatic toanlity, the full chromatic toanlity is created
when besides the 7 notes of the original diatonc scale 1,2,3,4,5,6,7, we also utilize the 5 chromatic or blue notes 1#, 2#, 4# , 5# , 6# .
The 4 methods are
1) Utilizing the lower and upper relative major diatonic (6 major and 4 major) as in the post 373
2) By utilizing the harmonic minor which adds the blue note 5#, the double harmonic minor which adds the blue notes 2# and 5# and the 7b inverse harmonic minor or 1 blues heptatonic scale which adds the blue notes 2#, 4#, 6#. In total all 5 blue notes thus full chromatic tonality. It canbe done also by utilizing only the harmonic minor and the blues heptatonic scale without the double harmonic minor.
3) By utilizing the 1# diatonic scale or the 1b diatinic scale in addition to the 1 diatonic scale! Thus two diatonic scales with the roots one semitone away.
4) By utilizing two cycles of 7 chords as connected arcs in the whell bu 4ths. The first cycles is all the diatonic 7d-3m-6m-2m-5M-1M-4M
The seconds 7-cycle turns some minors to majors and the 5m to 5m
It is the cycle 7M-3M-6M-2M-5m-1M-4M
The melodies o play should be based on the middle 3rd notes of the chords.
An alternative pair of 8-cycles of chords is the next
4#m-7m-3M-6m-2m-5M-1M-4M
The seconds 8-cycle turns some minors to majors.
4#M-7M-3M-6M-2m-5M-1M-4M
376. EXAMPLES OF HAPPY AND NICE CHROMATIC TONALITY HARMONY
Examples of happpy and nice chord progressions in chromatic tonality in Portugues guitar folk music (E.g. Jorge Fontes https://www.youtube.com/watch?v=A6c34JP3JsE&t=150s&ab_channel=tbanjotbanjo )
Friday, June 11, 2021
375. FULLY CHROMATIC OVERTONES FLUTES :REDESIGNING THE NEY TOWARDS THE NOTES LAYOUT IDEA OF TROMBONES AND VALVED TRUMPETS
FULLY CHROMATIC OVERTONES FLUTES :REDESIGNING THE NEY TOWARDS THE NOTES LAYOUT IDEA OF TROMBONES AND VALVED TRUMPETS
Normally an overtone flute plays a major chord with 7nth with the overtones
The overtones 2-3-4-5-6-7-8 are as steps in diatonic scale the
1-5-1'-3'-5'-7'-1''
Now by closing half the only end hole ofthe overtone flute we may get the 7 major chord
7-4#-7'-2'#-4'#-7'b-7''
When closing fully the only one end hole we get the same notes of the initial major chord but with one octave lower.
From a simple point of view the 1 major chord together with and 7 major chord givea hexatonic scale which is a subscale ofthe 7-notrs double harmonic minor scale!
But there is also another insteresting complication.
For some reason which is that the overones in the various octaves do not fall exactly upon the notes of the piano or bach scale, instead of 3 note with a close hole weget a 2 note . This in total
we get an 8-notes scale the
1-2-2#-3-4#-5-7b-7-1' which isnothong else than the INVERSE SAMBA SCALE (8 notes scale) .
| In semitones the Shambach scale is 2 1 1 3 1 2 1 1 | Sabach (Sambah): Greece |
See post 227
We may notice also some nice other scales the are derived by playing obnly one hole of this flute.
We may alsonotice that the 2nd 4th 5th holes are the holes of a corresponding Fujura flute whenthe other do not exist
Then if we play the tube hole with the 1st fujara hole which here is the 2nd front hole we can easilty calculate that the resulting scale is a 8-notes scale and no other than a Bebop scale ! E.g. if the flute is with roor C it is the G/D Bebop dominant 8 notes scale. (see https://en.wikipedia.org/wiki/Bebop_scale)
If we play the tube hole with the 2nd Fujara hole or 4th hole in the chromatic overtones flute we get the augmented 6-tonic scale
And if we play the tube hole with the 3rd Fujara hole or 5th chromatic overtones hole we get the Genus Secundum 6-tonic scale which is also called enharmonic 6-scale in the hexatonic harmonicas in post 367.
Below we discuss how by opening 6+1 new holes we get all the 12-notes chrmatic scale!
I have crafted one more such chromatic overtone flute at Bb4 with the 6+1 chromatic fingering system. It is in the range of the standard piccolo trumpet although it is about 7 cm long .
The difference
with the fingering chart of such a chromatic overtone flute from that of
a trombone with its 7 positions or a valved trumpet is slight and is that while
at the trombone and trumpet the slide and the valves create a chromatic
extension lower than the root note, in the above chromatic overtones
flute the holes create a chromatic 5-notes scale higher than the root
note.
Besides this
difference, the idea of the fingering is essentially the same.
Such chromatic
overtones flutes are perfect to improvise in jazz and folk music with chromatic
tonality with similar advantages to that of a valved brass wind.
All diatonic
scales are more or less fair in mutual favoring and by shifting in the
overtones when playing and correcting chromatically as part of the
improvisation melody itself, makes improvisation easier and charming!
Monday, June 7, 2021
374 THE MIRACULOUS TETRACHORD: HOW 3,4 AND 5 NOTES SUBSCALES OF THE DIATONIC SCALE IN THE MELODY COMBINE WITH CHORDS IN THE CHORD PROGRESSIONS
HOW 3,4 AND 5 NOTES SUBSCALES COMBINE WITH CHORDS IN CHORD PROGRESSIONS
If we want to correspond simple patterns of harmony with simple patterns of melody then
1) Threechords in other words 3 consecutive notes subscales correspond to triads of chords that have distance of roots an interval of 2nd. And there are so many such 3-scales as are the notes of each chord. Furthermore threechords occur externally as linking bridges to consecutive chords of the chord progression, when the chord progression have roots that have a distance an interval of 3rd.
2) 5-chords in other words 5 consecutive notes subscales with total length an interval of 5th occur internally to each chord of the chord progression
3) tetra-chords in other words 4 consecutive notes subscales with total length an interval of 4th occur externally as linking bridges to consecutive chords of the chord progression, when the chord progression is an arc of the wheel by 4ths or more generally the roots of the consecutive chords differ by an interval at most of 4th.
THE MIRACULOUS TETRACHORD:
The previous explains why when improvising over a diatonic scale and a chord progression by chords of it, each time the chord changes, it is at most within a tetrachord that contains the last "staying" note (melodic center) of the last chord that we find the next "staying" note (melodic center) of the next chord.
Sunday, June 6, 2021
373. FULL CHROMATIC TONALITY THROUGH THE TRIPLE TONALITY OF A TRIAD 3 RELATIVE (IN MELODIC RELATION) DIATONIC SCALES 6 major 1 major 3 major OR OF THE CYCLE OF 7 CHORDS IN THE WHEEL BY 4THS.
As it is known in a diatonic scale there are 3 triads of chords
1) The triad of majors 1M-4M-5M
2) The triad of minors 3m-6m-2m
3) The minors-diminished triad 7d-3m-6m
By converting the latter 2 triads to majors we have the
2b) 3M-6M-2M which is also the triad of majors of 6 major
3b) 7M-3M-6M which is also the triad of majors of 3 major
By doing so we get also all the 5 chromatic notes relative to the original 1 major diatonic scale in other words the 1# , 2# 4#, 5# except the 6# . But the 6#=7b can also be obtained by the 1M7 thus an full chromatic tonality.
The final sequence of major chords set in the wheel by 4ths (or 5ths) is
7M7->3M7->6M7->2M7->5M7->1M7->4M7
THUS THE VERY WELL KNOWN CYCLE OF 7 CHORDS IN THE WHEEL BY 4THS!
A gradual covering of all these 7 chords can be so that at each of the 3 stages we always have one triad of majors and 2 triads of minors or diminsihed!
For example
1st phase [from 1 major scale]
(1M -4M-5M), (3m-6m-2m), (7d-3m-6m)
2nd phase [from 6 major scale)
(1m -4m-5m), (3m-6m-2m) (7M7-3M-6M)
3rd phase [from 3 major scale]
(1m -4m-5m), (3M7-6M7-2M7), (7d-3m-6m)
Finally if we want to correspond simple patterns of harmony with simple patterns of melody then
1) Threechords in other words 3 consecutive notes subscales correspond to triads of chords that have distance of roots an interval of 2nd. And there are so many such 3-scales as are the notes of each chord. Furthermore threechords occur externally as linking bridges to consecutive chords of the chord progression, when the chord progression have roots that have a distance an interval of 3rd.
2) 5-chords in other words 5 consecutive notes subscales with total length an interval of 5th occur internally to each chord of the chord progression
3) tetra-chords in other words 4 consecutive notes subscales with total length an interval of 4th occur externally as linking bridges to consecutive chords of the chord progression, when the chord progression is an arc of the wheel by 4ths or more generally the roots of the consecutive chords differ by an interval at most of 4th. This explains why when improvising over a diatonic scale and a chord progression by chords of it, each time the chord changes, it is at most within a tetrachord that contains the last "staying" note (melodic center) of the last chord that we find the next "staying" note (melodic center) of the next chord.